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Hi Larry,
I hope tonight goes swimmingly. My husband is out of town and I have
exhausted my babysitter resources. In fact, several of them are there
tonight!
Be well.
Larry:
I'm sitting at my computer and trying to call more theatre companies
for the marathon (since two dropped out today--through no fault of
their own), and I'm sending out letters to playwrights and
companies, pairing them together. I have an all day festival of new
works by high school kids on Wednesday that has to be prepared for
and cast with about 40 actors, and then I go to D.C. on Wednesday
night directly after the festival.
That's why I'm not at the IRNE's -- the lovely IRNE's, always so much FUN, I'm so disappointed! I can't
get out from under these papers or this pressure.
I'm thinking of you all and wishing, wishing I was there. I hope it
goes swimmingly and everybody celebrates all that good work. Please
give my regards and apologies to everyone involved. I love you all.
With great affection,
Kate
Larry:
Linda Sughrue here. I had to head out of the IRNE's last night before I turned into a pumpkin (I just got back from a business trip to Finland, so was dog tired). Anyway...I just wanted to thank you for the IRNE award for choreography. This was a major milestone in my choreographic career, and I really didn't anticipate winning -- it was truly a thrilling evening and words can't express how elated I am about the award.
Can you please pass along my thanks to the other IRNE's and especially Bev? I know I will see you all around and about, but since I'm only working on a couple short plays right now, which don't go up into May and June, I wanted to make sure that I got my gratitude out there.
Again, thank you so much! I am truly honored (and still get misty-eyed when I think about it).
Linda Sughrue
Hello Larry,
Just dropping an email to express my deep saddness over the passing of John O'Brien. I just found out on your page today, and I was very saddened. I had the immense honour to work with John twice, in Footlight's "Glengarry Glen Ross" and in CCT's EMACT entry of "A Substance of Fire" (both in the year 2000) and I have to say that I will never in my life meet another man such as he. He was a brilliantly funny and intelligently gifted man, whose wit was always sharp and his talent immense. I will never, and could never forget the mark and influence he had on my life in the breif time I got to spend with him.
I am very sad to hear of his passing, and offer my deepest sympathies to his family.
Thank you,
Bill Stambaugh
Hi Sheila. I was really saddened to hear that Phil passed away. He was the lead actor in my thesis film, Parting Shots, and he was an incredible actor and great person to work with. I think it was shot in 1998 or so when I was at BU.
I have lots of photos from the set that I could share with you. I can
either send you digital scans or send you some copies. Let me know
what you need. He's absolutely wonderful in the film. It was shot on
film...I have a release print. I also have VHS copies but the
transfer is terrible. I'd be happy to screen the film if anyone is
interested in seeing Phil's work. I have a projector and screen for a
small audience.
Kevin Anderton
Midnight Chimes Productions
Hi Larry - I went to Malden High School, I graduated in 1973. I was one of those kids who didn't fit in, I was smart, which was not cool as I was considered a nerd, I wore glasses, had braces on my teeth, had acne, and was as thin as a rail. Back then, being a size 0 was not the style and in fact my mom had all sorts of problems finding adult clothes to fit my 85 pound body! (I still had that Boston Ballet mentality-don't eat!)
I got involved with The Greenroom Society, run by John O'Brien. The first thing I did with this group of talented misfits was a night of one-act plays. John cast me in a character role. Well, being 16 years old I was not too thrilled about playing a 40 year old woman in baggy clothes who ran a boarding house for poor people. John took me aside and said to me, Susan, you are a good actress. You have natural instincts and your comic timing is great. You ARE a character actress. He went on to say, Believe me, a good character actress will always work and they are the characters the audiences love.
I never forgot that. He took the time to talk to me. Years later, I realized how flattered I should have been that someone of John O'Brien's brilliance and stature thought that I was a good actress!
As you know, I have had a pretty nice career for myself playing character roles, and he was right, they are the BEST roles! God speed Mr. O'Brien! You were quirky, funny, brilliant and a wonderful teacher!
---Susan Walsh
Date: Tue, 25 Mar 2008 17:10:47 -0500
From: daak daak@comcast.net
Subject: Still Standing-Old Theatre Update
Hi Larry,
Well, it's been a long year or so that I've been working on the renovations here at the Old theatre at the Elizabeth Peabody House. As you may recall, when The Theatre Coop dissolved in 2006, the space at 277 Broadway was facing permanent closure. We managed to persuade the good people at EPH to put some work into the place and now we face yet another hurdle. As much as I want to keep the theatre open as an inexpensive and high quality venue for new works, classes, and rental for performing groups, the word just doesn't seem to be reaching enough people. Every time I mention what we're doing at EPH to a colleague when I run into them at various openings and so forth I get pretty much the same reaction; that they've heard about it being available to rent by word of mouth or read about us in Stage Source postings...then when I catch up with the same people a few months down the road and they ask me how things are they are surprised that more isn't happening in such a great space. What seems to be going on is that everybody appears to think we're all booked up.
If it wasn't such a serious thing I'd be laughing about the situation.
I just want to say here and now to everyone out there looking for a wonderful space for a really good price....Call Me!
Please help me to spread the word.
I'm in a bit of a bind with the EPH board in that I have until this summer to meet a quota of at least three monthly rentals before the future of the space comes up for review. If I can't sell it as a theatre there's a strong chance that all the nice renovation work we've been doing will end up being used as an indoor activity room and all the theatre accoutrement such as dimmer and light booth will be tossed out. I honestly thought it would be simple to line up three months rental back in January when I agreed to it. And I've shown the space off to literally dozens of groups who all tend to back out just before the contracts are to be signed. Their reasons are mostly that they can't afford our rates, that we seat too few patrons, and that we don't have a concession stand.
I can't do too much about the rates, we're already leasing at a bare minimum of $800/month, and our capacity of 75 occupants comes from fire and building inspectors.
However, our brand new concession stand will be completed by mid April.
The other big wrinkle for folks is insurance. The way it stands now, we require renters to have their own insurance, which is a pain in the butt for them, but still a fact of life. The EPH budget doesn't include the funds this year for a TULIP policy, which would essentially cover anyone who walked in the door. Plans for that are in the works if the space proves viable as a rental house but for now we can only offer a partial solution that leaves all of our renters covered, but it pushes our rental fee up a couple of hundred bucks.
So the renter company is saved the legwork of procuring their coverage(which is significant), but they still pay for it in installments
. The EPH doesn't stand to make a profit with the Old Theatre, we're not in it for the money. ButI have to prove to thepowers that be that The Old Theatre at The Peabody House is at this time(with no regards to the past mind you) a valuable asset to the community.
What will prove that is simply that people use it for what it's meant for.
So, I'll keep doing what I'm doing, and learning newer and better ways to do that, but I really need your help and that of our community to spread the word that this resource is not only available for their use but in great need of them as well. And Boston, we need you now, today, not in a golden age of mystic crystal revelation just around the corner. If no one avails themselves of this opportunity right now, it won't be here tomorrow.
Love,
-Doc Madison
Doc Madison, Director of Theatre
Elizabeth Peabody House | 275 Broadway Somerville 02145
617.623.5510 ext112 | www.docmadison.org
Date: Tue, 25 Mar 2008 17:16:51 -0400
From: sheilasta@aol.com
As you know, I am collecting remembrances, stories and anecdotes to put in to a book for Phil Patrone's daughter Grace. I am going to try to get it completed by Phil's memorial which is tentatively set for mid-May. In spite of my telling some of you that you had plenty of time to send me thins, getting it finished by mid-May will require me to change the time table. I would be extremely grateful if you emailed your comments, stories, etc., by April 10th. Anyone who wants to may contribute and no one should feel pressured to do so if they choose not to.
So, for those would like to participate, please email me your comments and, if you have any pictures of Phil that I can include, email those as well, as soon as you can.
My email is: sheilasta@aol.com
My snail mail is: Sheila Stasack
60-11 Broadway #4H
Woodside, NY 11377
If you send me pictures by snail mail, I will do my best to return them. Also, please include your full name. I can't always tell from your email address who you are.
Many, many thanks,
Sheila
Date: Tue, 18 Mar 2008 18:12:19 -0400
From: "Rick Lombardo" ricklombardo@newrep.org>
Subject: Phil Patrone
Larry:
Betsey Patrone has asked me to pass on the following information to the
theater community about the details of Phil's wake and funeral next week.
She knows that many of us loved Phil a great deal and want to be able to
share in his remembrance. Betsey also knows that we in the theatre
community will want to do our own celebration to remember Phil, and I'm in
communication with Betsey and Spiro to try to arrange something a little
further down the road, most probably in May.
Visiting hours will be Monday from 4 - 8 pm at Brown and Sons Funeral Home,
36 Trapelo Road in Belmont. The funeral will be held Tuesday at 9am at St.
Joseph's Church, 128 Common St, also in Belmont. In lieu of flowers
donations may be made in his memory to the Stanley Tippet Home, 920 South
Street, Needham, Ma, which is the hospice where Phil spent his last days.
Warmest regards,
Rick
Rick Lombardo
Date: Sat, 15 Mar 2008 22:53:44 -0400
From: sheilasta@aol.com
Subject: A sad day
Forgive me if you've already received this information. At a little after 6 PM tonight, Phil Patrone passed away. I do not know how his last few hours were, but it was clear when I saw him earlier today that he was a man passionately committed to his family who was not going to leave them until he was ready.
The tentative plans for a wake and funeral will be Monday and Tuesday, March 24 and 25. I will email when I know more.
Sheila
Date: Sun, 16 Mar 2008 12:24:56 -0400
From: sheilasta@aol.com
Subject: Phil's Funeral
For those who would like to attend, Phil Patrone's family will be having a visitation on Monday, March 24 from 4 until 8 PM at:
Brown and Sons Funeral Home
36 Trapelo Road
Belmont, MA
617-484-2534
His funeral service will be on Tuesday, March 25 at 9 AM at
St. Joseph's
130 Common St.
Belmont, MA
617-484-0279
Larry, John O'Brien passed away yesterday. I think Jason Taylor is putting together a tribute.
Hi Everyone,
Please forgive this mass email, but I'm trying to reach as many of you as possible and a lot of the email addresses I have are old and no longer used.
I know that many, perhaps all, of you know that Phil Patrone is extremely ill. It is unlikely that he will recover. If you know Phil or have worked with him, could you take a minute and write a short anecdote about any experience, memory, or impressions you have of him? I would like to take these stories and put them in a book for Gracie so that as she grows, she will have an idea of what her father was like when he was healthy.
Betsy spoke about how wonderful and supportive so many of you have been. I hope that the contribution of our experiences with Phil and the gift his talent has been to so many of us will be a comfort to him and his family.
Please email these anecdotes to me here:
sheilasta@aol.com
And feel free to pass this request on to anyone you feel might like to share their experiences with Phil.
Many thanks,
Sheila Stasack
Hi Larry,
I was looking over the IRNE nominations for this year and I had a question about the criteria for the category of New Plays.
This has, by the way, nothing to do with the playwrights or the quality of the nominated works.
In the category for Best New Play (Small Company) Christopher Shinn's play Dying City is nominated. In the Large Company division, Ronan Noone's The Atheist is nominated.
Dying City premiered at the Royal Court in London in 2006 and then had a subsequent production at Lincoln Center in New York.
The Atheist, while certainly developed locally at The Huntington, premiered in New York City, Off-Broadway in November of 2006.
I had always assumed that New Plays were classified as those receiving their world premiere or first full production in Boston. Or that they could be involved in something like the National New Play Network so that if they received their first production at a sister theatre in another city, the local co-production would count.
There is no doubt that these are "New" plays, but what is the defining criteria. Or is does it go on a year to year basis.
Thanks,
Art Hennessey
"Hi Larry,
I'm sure you're busy as usual, but would you mind posting a little something about my play Little Red Hen? I heard you had a good time the Thursday that you went and although it was only a two weekend run it would be nice to have some sort of write up.
Unfortunately, there were no professional reviews of the play during its run through early February. Pretty much every major paper snubbed it and didn't send anyone: the Digg, the Phoenix, the Metro, Herald, Globe, etc. Some of these I can understand, but on the first weekend the notice I had sent was even bumped from the Phoenix Play-by-Play for listings of out of town shows and what appeared to be ongoing dinner theatre... To my knowledge it was the only new play up at the time written by a local, and the play is under consideraton for national awards (after selection at the northeast regional level) because I developed it last year through the playwriting degree at Boston University. (It was previously workshopped locally by Shadowboxing.) I really hope that this production is not the end of it, but since it had its premiere here in Boston it would be nice to have a professional-level review to attach to a cover letter when sending it out to other theaters in other cities.
What's more, the director, cast and crew worked very hard and for their sake I was very sad to see that there weren't any professional notices at all. I tried over and over to attract reviewers to come -- to the extent of often asking "am I doing something wrong here?" The replies were typcially, "I'm sorry, there's a lot going on, good luck." Through internet marketing and posts we were able to draw a crowd of patrons, even from outside the typical theatre community. Many people enjoyed it and had great things to say. So the reward of playing to a crowd was nice, but it's a shame that the broader potential audience could not be reached for the run.
What it comes down to is the same noticable trend -- highly commercialized "theatre-on-display" is trumping a lot of local theatre that's going on out there and therefore many of our local artists get screwed. And perhaps I am biased, but it seems that this is especially true for those working on new plays written by local playwrights. I wonder if Boston theatre will ever allow itself to have a voice of its own like other cities.
So if you do have some time, please post something about the play. I would really appreciate it. But whether or not that's possible, please know that you're a saint to this community for all you do.
Thanks,
Jon Myers
Thought you would find this link interesting regarding fringe performances.
The author is a fringe theater artist in Seattle:
http:// profwill.spymac.com/ has some of the 10 minute plays Will wrote as Marathon entries.
A dozen or so of Will's friends gathered at Burns Park during the
River Festival Saturday(16 June), and held a reading of some of Will's short
scripts. My husband David Meyer (who's known Will since the old
Boston Computer Society in the early 1970s) recorded the reading of one
of them, THE NEXT DAY, for our weekly Stagepage Podcast. You can
hear Will's play, along with an informal eulogy by Marianne Donnelly, at
http://glhorton.podOmatic.com
Geralyn
NOTE:
The two very eloquent "podcast" reminsicences are called
REMEMBERANCE
anf
WE LOST A FRIEND
William James Stackman II, born May 1941 died June 2007 in Somerville, Massachusetts was a life-companion with me. I met Will in 1985 when he hired me as a folk singer for the Cambridge River Festival. The first memory of him was when on that day he was running maddly through the streets trying at the last minute to make a place for the folk singers stage with some protection from a sudden rain that was unexpected. I followed him around and said, "Hey, mister, it's not your fault it's raining, don't worry." He grouchily said, " no, it's not my fault but I have to fix it."
The show went on between two trees on Memorial Drive and we all sang and the rain subsided. He had tried to string a tarp across from tree to tree. I called him the next day to thank him and we started talking. I asked him If I could meet with him again to get more ideas about performing in Cambridge. He immediately gave me names, ideas and sources. I continued to call him on artistic ideas and eventually he invited me to meet his friends and from there the friendship grew.
In 1988 we were lovers for a long time. We continued to see each other a few times a week but he had a certain living style and so did I and so we never lived together but instead spent much of our together-time at my home. He was my emergency contact on my passport, landlord, bank accounts and all. We shared everything, cars, people, information, theatre equipment, amplifiers etc.
Two years ago he wanted to formalize our twenty year companionship. I said paper wasn't necessary since everyone in the theatre, puppetry, and computer worlds knew and saw us together a lot. I wasn't much of a paper person. I was wrong, again, and he was right. Especially now that the details of his death are upon me.
William was honorable, brilliant, unselfish, giving, engaging, loquacious, funny, wise. He hated fools, cheats, liars, egoists, and especially gold-diggers. It seems his past had been loaded with them and he had estranged himself from friends and family who had exhibited some of these unsavory characteristics. This makes fulfilling his final wishes difficult since he was reticent about not getting in touch, or having me, or his other friends, get in touch with these neerdowells. Now, we must follow the laws. His next of kin, if they can be found by the detectives, must be informed by the Medical Examiner's Office before anything else can be done. Nevertheless, we go forward with many memorials that are planned and announced on this web site.
Many people who had seen us together at Cambridge River Festivals, Earth Day, Theatre Shows, parties, meetings and much more have called to tell me their favorite "William" stories. They are remarkably the same. "At first I was put off by his gruffness...but them I grew to love and admire and listen to him...." was the general outline with colorful incidents ommitted.
As far as I can tell he had no enemies, did no harm, gave tirelessly of this mind, ideas, technical skills, laughter, physical strength and car. His only "flaw" seems to be his alternative-housekeeping style, and, a penchant for not giving out basic legal information (names, dates, numbers, addresses, etc).This proves to be his final challenge to those of us working without pay on the aspects of his memorials and his final wishes.
I look forward to reading all the comments and comical incidents that ran through this wonderful Sage's life. I remain in love with him till the day I go to "the other side," hoping, to see him again.
His particular voice rings daily in my ears and leaves my heart heavy. Our only alternative to sadness is to live up to the standards he demanded of us all. I am certainly trying as I cry daily for my man.
Marianne Donnelly 617 983-1183 Will's "little pict."
"Prof. Will", as he's known around Beantown, did theatre, including puppetry, in these parts for a quarter century or more. His theatre adventures began back in his hometown of Madison CT in the early '50s, as part of the Nutmeg Players. That still viable community theatre traces its roots to the peripatetic Jitney Players who were headquartered there on the Connecticut shore in the early '30s. Active in theatre at Mount Hermon where he graduated in '58, Will became hyper-active at DePauw University (Greencastle, IN), where he managed a student experimental theater, directed an opera, played various minor roles, and still managed to graduate Phi Beta Kappa in 1962.
After studing Psycholgy at Yale for a year as an NIMH Fellow headed for a PhD, he switched to the Theatre program at Wesleyan (Middletown, CT), working as a grad assistant, and earning an MA for Theatre in Production in 1965. Hanging out for the rest of the 60's at Cornell, he spent four years studying and doing theatre and film, but never submitted his thesis-- a chronicle of the relationship between Broadway and Hollywood in the decades before and after talkies took over. While at Cornell he managed the studio theatre, created several experimental productions, house-managed film series, and acted now and then-- a favorite role was Lanthorn Leatherhead "Master of Motions", the fairground puppeteer in Ben Jonson's "Bart'l'mew Faire"
Leaving Ithaca, the Prof. taught at Cal. State/Long Beach during the year Reagan shut down state campuses to stifle dissent, then returned East to teach technical theatre for two years at Rutgers. When New Jersey rejected their first income tax and the University budgets were slashed, Will decided he'd been in school too long and came up to Boston to concentrate on puppetry, and became a Punch Professor.
He became part of the technical staff at the still-missed Orson Welles Complex, but it wasn't long h before he was back to teaching at Pine Manor College in Brookline: building scenery, directing musicals, and lecturing on Theatre for Young Audiences. He also continued performing various versions of the traditional "Tragical Comedie and Comical Tragedie of Punch and Judy" as Boston's senior Punch Professor. He taught at Boston Conservatory, Wheelock College, and Newton North High, and directed the Gateway Puppeteers in Brookline.
In the '70s and '80s Will worked on the first decade of FIRST NIGHT, ran two editions of Summer StART at Fort Point Channel, and then for the Cambridge Arts Council was Technical Director for the Cambridge River Festival, while supervising Arts Lottery projects and other community efforts.
Will was a founding board member and Technical Director for the first years of Boston's Playwrights' Platform, and active in the A.T.A., N.E.T.C., and the Puppeteers of America, Boston Area Guild, Ch#9 thereof. He was also on the advisory board of the late lamented Boston Computer Society, and could be found by old friends at the MIT Electronics Flea Market and BMUG meetings. Will's reviews of Boston-area theatre can be found on AisleSay.com (a national compendium), Larry Stark's Theater Mirror ( a local resource), and his own site ON THE AISLE. He was part of the Independent Reviewers of New England's (IRNE) Awards committee, and a tireless advocate for good work under Spartan conditions in obscure venues.
Memorial plans so far include:
The Cambridge Arts Council at the Cambridge River Festival: Mini parade at 5:00 pm Saturday June 16th on the Festival site celebrating Will Stackman and Ritchie Goldstein, junk percussionist extraordinaire who was a part of many Boston area festivals, most notably Sponstaneous Celebrations' Wake Up the Earth. Includes Puppeteers Cooperative, stiltwalkers & drummers.
Memory Wall Bring your contribution -- a note, a sign, a photo, a puppet, to place on a Community Bulletin Board celebrating Will -- or carry it in the parade.
Play Reading Will wrote some 10 minute plays in recent years. If there is interest, we have a beautiful little park that could be used at 4:00pm if actor/director volunteers come forth to read them. Contact Jane Beal, Cambridge Arts Council, 617-349-4381 jbeal@CambridgeMA.gov
Playwrights Platform at Boston Playwrights Theatre: A first annual Will Stackman Award for Excellence in Directing Award will be voted and presented at the Platform's Annual New Play Festival wrap party after the final 8pm shows Saturday June 16th.
Puppet Showplace in July. There will be a Memorial at the Showplace in Brookline Village about a month, to be organized by Marianne Donnelly and Kris Higgins. Details TBA on the www.TheaterMirror.com web site
Dear Friends:
With Will Stackman's shuffling off this mortal coil, the Cambridge
River Festival is scrambling to celebrate his many contributions,
talents and unique qualities. You probably know that Will was a
central part of the 28 years of the festival's history -- most
recently inspiring the puppet focus at last year's Kid's Area.
The Cambridge River Festival takes place on Saturday, June 16 from 12 Noon to 6pm.
We are working to pull together something that respects Will's reticence about making a fuss while also recognizing that he had a great impact on many lives. Here are some firm plans and some ideas:
~ 5:00pm: Mini parade on the festival site celebrating Will
Stackman and Ritchie Goldstein
Ritchie -- junk percussionist extraordinaire-- was a part of many
Boston area festivals,
most notably Spontaneous Celebrations' Wake Up the Earth
Confirmed for the parade: Puppeteers Cooperative, stiltwalkers &
drummers from Spontaneous
Ideas:
~ Memory Wall
Bring your contribution -- a note, a sign, a photo, a puppet, to
place on a Community Bulletin Board celebrating Will
-- or carry it in the parade.
~ Table Reading @ 4:00pm
Will wrote three 10 minute plays in recent years. If there is
interest, we have a beautiful little park that could be used.
~ Promote Awareness
Playwright's Platform has proposed a Director's Award in Will's
honor. This would be announced/presented on the same day as our
festival -- the final night of the 35th annual Festival of New
Plays. We'd be happy to draw attention to this event in some
appropriate manner at the Cambridge River Festival. http:// www.playwrightsplatform.org/festival.html
Best wishes,
Jane Beal
Director of Community Arts
Cambridge Arts Council
344 Broadway
Cambridge, MA 02139
Phone: 617-349-4381
Fax: 617-349-4669
Email: jbeal@CambridgeMA.gov
Web: www.cambridgeartscouncil.org
G.L. Horton, playwright
Hi Larry,
I just wanted to say how sorry I was to hear that Will passed away. I know you must be getting a lot of e-mails, but have you heard about any sort of memorial service for him? I've been checking the Globe daily but I've seen no notices yet. I wasn't aware that he had been ill. I can already feel a great loss to the Boston theatre community, especially on the fringe side, to which he was a big supporter. Please let me know any details when you can.
Love,
Susan
Larry, how sad I was to hear of Will Stackman's passing. He did,
indeed, die with his boots on. My heartfelt sympathy to his loved ones.
Maureen Keiller
Dear Larry,
I was shocked and saddened to hear of Will's passing. He was such a strong voice for theater in Boston and always gave intelligent and thought provoking reviews. I just spent a few minutes rereading his web pages: AisleSay and And then I Saw. Somehow I felt that allowed me to say goodby to someone I didn't know well but whose work I have long admired. My sympathy to his family and friends. He will be missed.
Love,
Nancy Curran Willis
Hi Larry, I'm so sorry to hear about Will. I knew him through The Puppet Showplace Theater -- a place he loved dearly and believed in whole-heartedly. I can't imagine that place without him.
Will could be a difficult, opinionated man, but he was always honest and his intentions were always pure. He was a good soul who left a positive impression on this world. He will be missed.
Anne
Dear Larry,
I am so sorry to hear about Will. How very sad for him and his loved ones. His presence and his voice will be missed.
Linda Lowy
Artistic Director
Shakespeare Now! Theatre Company
Larry,
It was great seeing you last night at the StageSource party. I was so saddened to hear this morning about Will Stackman passing away. It was said that he had had cancer and simply went to the theatre and came home and passed away? How fitting if that were the case - he was a man so dedicated to this crazy business and will be solely missed. Can you please let me know if there are services of any kind because I know there are many of us who would want to attend?
Thanks,
Maryann
Larry:
I suspect the tribute Will would appreciate most would be
a staged reading of one (or more) of his plays. A not uninteresting idea
would be an evening of critics plays: we’ve got, say, Will S, and Carl R. and
Geralyn; and Will S *also* wrote a play about
reading plays called “Readers’ Fee” which make be a good ending to the evening.
We have enough young theatre groups that one of them could home-base the
project for a two-evening run at, say, Boston Playwrights…
Just a thought,
Robert B.
Hi Larry,
My name is Daniel Herrera and I was a student of Will Stackman and I
am extremely saddened to hear of his passing.
Please forward any info regarding memorial services to my email
address, if at all possible.
Thanks & Peace,
Daniel Antonio Herrera
Hi Larry -
I was so sorry to hear about Will Stackman's passing. He will
definitely be missed. I suppose the only comfort is that he died with
his boots on, writing till nearly the last. What more can one ask?
I'll check your website for updates.
Thanks,
Tom Garvey
Hi Larry,
Sad news is right.
Will was not only an original and consistent critical voice for Boston, but somebody who cared deeply about its artists and its workings.
I am shocked to learn of the extent of his illness. As you point out, his passion for theatre must have given him a of inexaustible energy. The last extended conversation I had with him was about his concept for trying to arrange a First Night event for Boston Theatre. Will also contributed to the meetings Jon Myers and company were having for the Boston Playwrights Network over the last six months.
I last saw him at the Marathon as well.
My prayers for Will, his family and friends. He will be missed.
Art Hennessey
Essayons Theatre Company
Boston Theatre, Beyond Boylston
http://mirroruptolife.blogspot.com/
What Fringe?
After the IRNEs the Mirror received a anonymous
heartfelt plea for more attention to small productions
from the Fringe of Boston theatre scene. A straw poll
of various theatre folk elicited a common response,
"what fringe?".
Fringe theatre operations have commonly
fallen into two categories:
groups who do their own
thing a few times a year, be it verse drama, plays by
their membership or what have you, or
startup operations involving young people trying to get their
own particular hold in the broader theatre scene,
often through avant-garde presentations.
Boston
actually has developed a few of the latter in the past
few seasons. Several have produced work well worth
noticing over at the Charlestown Working Theatre,
notably
Molasses Tank, which has the longest track
record,
Whistler in the Dark, which is currently
across town using the Downstage Black Box at the
Arsenal Center for the Arts in Watertown,
Imaginary
Beasts which works out of the Lynn Center for the Arts
but will produce this summer in Watertown.
There's also Mill 6 which produced over at the Theater
Coop but is now seen at the Devanaughn space in the
Piano Factory.
And Devanaughn itself has pushed the
envelope a few times.
The oldest Fringe theatre, of
course, is world-touring Pilgrim, which is the only
such group to appear at the BCA recently.
Theatre
Offensive, with its specialized aims should also be
noted.
There have also been some fringe productions
over at Boston Playwrights', generally done by artists
who've done more conventional work there.
The refurbished Durrell Hall at the Cambridge YMCA has yet
to attract any true avant-garde, unless you count
several visits by Peter Schuman's unique Bread and
Puppet shows, which this season opted to try using the
BCA's cyclorama.
Brian Tuttle's 11:11 group brought
some under-rehearsed Shakespeare in there but has
generally done his original rather realistic
youth-angst pieces starting up the four flights at
the Actors' Workshop on Summer Street.
And over in
Chelsea, TheatreZone has soldiered on, generally
producing established scripts in their converted
OldFellows Hall, which now has its elevator. They are
really only a "Fringe" operation geographically, but are
now really worth making the trip to Chelsea Sq.--- it's
a triangle --- street parking is adequate even if public
transportation at night can take a while.
The lack of a truly low-budget space at the revamped BCA is a disappointment. The rehearsal halls on the second floor of the Calderwood are not in themselves that expensive to rent, but participation in the Boston Theatre Scene box office has a cost which groups have found prohibitive. That's one reason why Rough & Tumble hasn't been seen there this season.
The church halls downtown which were the seedbed of
Boston Theatre for years aren't generally available.
Whistler in the Dark did manage to tour a show based
on Dario Fo/Franca Raime monologues around to a series
of nightspots with varying success. Other groups might
well consider such a route.
And of course Ryan Landry
and the Gold Dust Orphans have been established at the
Machine for quite a while.
The IRNE's problem with dealing with much of this
activity is time, compounded by lack of information.
Most of us do review the listings, but these
frequently come too late. Surfing the Web from site
to site provides more information, but gets
time-consuming especially when information about a
current production isn't somewhere obvious on the
opening page.
Groups need to make more use of
advanced notice opportunities like the NETheatre 411
website, and to send out press notices and timely
followups well in advance. Our interests vary and
increased activity in Boston Theatre often makes it
unlikely that any one reviewer can get to see half of
what's on in a timely fashion.
Perhaps it's time for groups such as those noted above to create a common "webpage", where their press releases can be posted. It would be easy enough to set up a free group blog on Blogger. Since this service is part of Google it would also have the advantage of being part of any active search. Might be something to try out for the second Fever Fest coming up this August over at the Cambridge MultiCultural Art Center 23-25.
Larry,
I am attaching the review now in case you don't want to be bothered with it
before that early procedure on Monday. But your health comes first. I hope
I will see you at the Marathon in fine shape.
I myself am doing well. Not reviewing much, I admit. (The day job keeps me
busy, and because I like it, I don't as often feel I MUST do something more
interesting -- like write a review.) But one day I was reading the plaintive
note on your site from a small-small-theater person who bemoaned the fact
that small-small theaters always lose out to big small theaters in the IRNE
awards, and they have the devil of a time getting reviewed. Shortly after
reading that, "The Ego and the Oracle" asked if I would review, and I said
yes. I really do think it is important to review the small-small theaters
bcs so much great stuff happens there, but they are never going to win IRNE
awards because the handful of voters see the bigger theaters' shows in
greater numbers, and if they adore something in a small-small, chances are
another IRNE critic has not seen that one but has seen another one s/he
adores. So both the small-small productions each get one vote.
I hope you do well on Monday. I will send you good vibes.
Caroline
Date: Tue, 24 Apr 2007 17:53:44 -0700 (PDT)
From: Brian Quint mrbrianquint@yahoo.com
Subject: more on that walkout at ART
Hi Larry,
Here's the Backstage article on the walkout, with a bit more information..The pieces of the puzzle don't all fit, but at least there is more on which to chew.
http://www.backstage.com/bso/news_reviews/stage/article_display.jsp?vnu_content_id=1003575046
Best,
Brian
Date: Mon, 23 Apr 2007 12:21:35 -0400
From: norfolk1a@aol.com
Subject: Please Post
Hi Larry,
Just wanted to inform the audiences and artists of the Boston Theatre Community that an artist visiting our city suffered a chilling experience during a show last Thursday night.
While performing his monologue Invincible Summer at Zero Arrow, Mike Daisey was interrupted when 87 members of a Christian group stood up and walked out. Then one of the walk-outs approached the desk at which Daisy performs and proceeded to pour water all over the desk, including Daisey's handwritten notes.
It is an uncomfortable and scary event for an artist. I saw the show last night and I can tell you that Mr. Daisey is a talented performer who makes a true effort to engage with his audience. In a weird coincidence, one of the subplots of his Invincible Summer is about blind ideology.
If possible, I would hope our community can reach out to Mike by either supportive words or by seeing his performances which run for another few weeks.
You can see the video of the walkout here at the American Rep Blog: http://amrep.wordpress.com/2007/04/21/video-of-the-disrupted-performance-of-invincible-summer/
Mike Daisey's account can be found here: http://amrep.wordpress.com/2007/04/20/a-night-to-remember/
Thanks,
Art Hennessey
http://mirroruptolife.blogspot.com/
Dear Mr. Stark, I was not sure where else to send this, but I have some reflections on the recent review of Arlington Friends of the Drama's Carousel. It is fair, as far as I am concerned, for Mr. Rossi to offer negative views of a director's concept, or particular performances. However, I thought criticizing two actors about what they MIGHT do, and comparing a young and very talented actress just starting out to a long time professional NY actress was gratuitous. Other than that, his review of the show itself was fair. I may differ with some of his points, but we are all entitled to our opinions, as they say.
As a Carousel cast member, and AFD member, I took umbrage with Mr. Rossi's comments about "day jobs" and "awkward bodies" and "non dancers." Yes, we all have day jobs. Yes, we are often, in community theater, asked to double parts, dance when we might not be the best dancers, sing parts outside of our voices' comfort zones and squeeze into or swim in costumes made for other actors. And we do it for free! We do it after work, after household chores, after the dog is walked and the kids are put to bed. Why? Because we love theater. We know we can access the same breadth of wonderful plays and musicals as the big boys and girls, even if we don't have the time money and lets be honest, sometimes talent that they do. Mr. Rossi writes as if that's a bad thing. It's not. Community theater is the purest form of theater. It's done by people who simply love theater. We love to see it, do it and be among people who feel the same. I am sorry for Mr. Rossi he sees community theater as second rate. To us, it's an outlet, a passion, a way to play pretend well into adulthood, and a true community experience. Do we like to be good? Of course! The best reward is when we have fun, AND put on a great show. I am sorry that Mr. Rossi thinks we missed the mark with Carousel. That's OK. We would not change a thing about the journey.
Sincerely,
Amy DeMarco
thank you, Larry, for forwarding these letters to me - and I am very much in agreement with the sentiments expressed about the IRNEs going to a few as I have stated year after year - it is our "democratic" voting process that's at fault - we need to work out a system whereby the shows everyone sees are not the only ones that get recognized at our annual event and that those of us who go to many other shows have our voices heard at election time.
thank you, Larry, also for maintaining a space where such a dialogue can occur
.
Love,
Kay Bourne
Larry -- I am probably more part of the problem than solution I only see 2-3 of the smaller, fringe groups a year. Givenm the resiources the Lyric, Speakeasy and New Rep have, should we be recognizing these smaller groups in their own category? I know we already have many awards, but it is very hard for them to compete at the same table with the larger "small" companuies.
Also: Times are getting tougher not only for the smallest of the small, but everyone. Ask Stoneham Theatre about their lack of press. Gloucester Stage.
It is a problem, alas, everywhere.
Larry,
The anonymous writer of the letter in Mere Opinions asks, “Who is rooting for the little guys?” After three years producing independent theater (I refuse to call it small, for it belittles the hard work and ingenuity put into producing shows with a smaller budget), I am sad to say that only a meager handful do. The Larry Starks are the rarity in this town. However, I do not blame critics and awards for the suffering state of independent theatre in Boston, no I look towards the artists themselves. Stay with me…
For any artistic scene to evolve, a community must be started first. And that community must begin with the artists themselves. During the three years AYTB existed, I had seen many noble attempts to unite the independent theatre companies into a movement. However, when the tough got going, when it would become work, when it moved from energetic and idealistic thoughts to reality, it would fall apart. It is often easier to bitch and moan, then it is to make a commitment to create a community that supports itself and puts itself out there. The scene in Boston is a tree with branches but no roots.
And it is for this reason that the independent companies are falling to the wayside month-by-month. It will never survive unless there is a movement within the theatre artists to make a difference.
For instance, the MIT situation. The independent theatre scene lost its most beneficial rehearsal space. For weeks, I read posts on Theater Mirror, expressing despair about the loss. Noting how sad it was that the selfish and childish acts of one group brought an end to one the greatest financial assets (free rehearsal space) the independent theatres had. Did the companies who used the space without breaking the rules band together and try to rectify the situation? Did they go to MIT and try, as a united front, to work out the situation? My guess… no.
The problem with Boston is that people think the art is enough. Not true.
It is a business and it needs to have people willing to lead it. And those leaders should be the independent theatre companies themselves. Too many times do I read notes from independent companies and artists blaming critics. Yes critics help, but they do not make or break companies. If critics were the sole reason art survives, then explain to me how Wild Hogs was the number one movie in America? Critics? No… it was the business of art. And part of that business is creating a community that tirelessly puts itself out there and demands attention and generates an excitement for independent companies. Do that and the critics will follow.
Also, blame gets thrown to the larger, more established companies. That they squeeze the independents out. Why would they have to? The independent companies are already doing that amongst themselves. There is no backbone to the independent scene. They all wait for a savior, a “hero for theater”. And as they wait… more companies disappear. Stop waiting and be your own heroes.
I hope that one day the independent theatre scene takes off in Boston. That the existing and future independent companies learn from the mistakes of those that fell. Until then, history will repeat itself and the situation will not improve. The secret to change lies in one word: unite. Become a community not just a group of companies.
Braden Weeks
Former Producing Director of AYTB Theatre
Hey Larry,
I hope that you are feeling well and that you are recovering from the writer's block that you had been experiencing earlier.
As someone who also works in the small theater community I felt a sense of relief that finally someone was seeing the IRENE awards as I saw them. But I also felt sadden because I know what the writer of the letter was saying was indeed true. Small theaters are in deep trouble. Opportunities for small theater companies are dwindling and with it a lot of artistic and creative people are going unnoticed.
For a while I have felt that the Independent Reviewers of New England have not supported small theater companies (of course, Larry I know that you do your very best to support as much small theaters as you can and I am always appreciative when I see you at one of my shows.) But the reviewers are not consistently attending small theaters unless your name is Lyric Stage, SpeakEasy or Huntington. (Can someone for the love of God tell me how the Huntington is a small theater company?)
I think that because the IRENE Awards only cater to an exclusive group of theater companies it makes the Awards meaningless, at least in my perspective. I also don't understand why the IRENE reviewers would not support fringe theater as the letter indicates? I mean I would think that out of all the theater that is being done in Boston Independent Reviewers would want to support that type of theater that is not being supported by the big newspapers (Globe, Hearld and Metro). That does not make sense to me.
And I also echo that feeling of hurt when I see first hand the hard and inventive work of small theater companies and artists going unnoticed. Although I was thrilled to see Annimus Ensemble getting a nod, that was not the only group in my estimation that did work deserving of a nod.
No, Larry I did not send you the letter, if I had I would have put my name to it. But the theater heroes are needed and soon. Because one of these days you will get an email in mere opinions asking where have all the small theaters gone and that will be a sad day indeed.
My Best to you always,
Rob
Here is the situation. The Globe and the Herald's major editors are gone. The Herald no longer has any theatre reviewer at all. The Globe just lost another good one this week to Oregon. The Banner lost a local hero Kay Bourne. Fringe start-up space --- once called the Leland Center at the BCA is no longer. Small companies are also falling by the wayside. Foundations are supporting less and less in the arts and even less in theatre.
The Independent Reviewers of New England no longer recognize fringe theatre. The smallest company to win an IRNE award this year (with 2 exceptions) was SpeakEasy Stage who won over 10 awards. One exception was Our Place Theatre whose award winning production was sponsored by the Huntington Theatre as part of the African American Theatre Festival. The other was Annimus Ensemble's choreographer, the only real "small" company to take an award at all. Still the show was LITTLE SHOP OF HORRORS. As a matter of fact, SpeakEasy, New Rep and Lyric cleaned up in the category of "Small Company." It is no wonder that we miss the likes of Sugan, Rough and Tumble, and Basement on a Hill. The diversity of awards was saddening as was the diversity in the crowd the night of the ceremony.
It is true that I do work for a small theatre in Boston. It is also true that I am hurt not to be recognized for important work. I am hurt for all my colleagues who dare to do really important and challenging work in the theatre. People constantly ask me why I stay in Boston. They want to know why I don't pack up and take the work to the Bay Area, Chicago or even NYC. I grew up here and I feel I owe something to this city. I love Boston. I'm not surprised by what is happening.
I want to know, who is rooting for the little guys now? I want to know that there is still an appreciation for artistic integrity, risk taking and gutsy black-and-blue performance.
Check the budgets. The Theater Mirror didn't even review our last show.
[THEN THREE LINES IN ITALICS:]
Dear Theatre heroes,
We need you now. We just can't last much longer like this. Please help.
--Boston's Fringe Theatres
Dear Larry and the entire IRNE committee,
Just a quick note to say thank you to each of you that voted for me and ultimately honored me with the Best Supporting Actress in a Musical award. As I said in my speech, this third award you have given me meant a great deal as it came to me as a result of working at Reagle Players for Bob Eagle, who gave me my first professional break after being in Nunsense for three years.
Thoroughly Modern Millie was a delight and I was thrilled that you honored its directors, Frank Roberts and Troy Magino as well.
I hope to be doing one or two shows this summer so I will see you all at the theater. Thanks for continuing to do what you do - this is one actor who truly appreciates it.
With joy,
Maryann Zschau
PS Glad it was such a success AND was thrilled that my good friends Paul Kreppel and Murphy won for the show they directed/produced THe Two and Only. And Jay, of course, has quite a unique, wonderful talent.
Best, Donna S
Larry,
Wanted to take a moment to thank you again for my nomination (best actor in a musical) – While of course I am disappointed I was not selected, I can take solace in the fact that I DID win “best foliage in a theatrical production” J
The awards were very well organized and Animus and myself had a wonderful time.
Hope to see you again during one of my other upcoming projects.
www.myspace.com/larrybanilow
www.myspace.com/voodooscrewmachine
Neil E Graham
TO WHICH LARRY REPLIED
I think as an IRNE Voter I can say the committee takes pride in its pledge of No Discrimination Whatever to famous rock stars, Regardless of Condition of Foliage!
(Insert wry emoticon of your choice here!)
AND NEIL'S RESPONSE WAS:
Haha – Thank you for being a trellis of hope for us all!
See you soon!
Neil E Graham
Larry, I would like to extend my gratitude to the IRNE committee for
so generously honoring Speakeasy's production of The Women. Having
been a part of that show is one of the highlights of my professional
life and to be recognized for something I am so proud of is
gratifying indeed. I am especially thrilled that we won for the best
ensemble, since working together on The Women really was one big love
fest! Thank you all so much for the IRNE's you bestowed upon us and
thank you for your continued support of the arts. I am so grateful
to be a part of this wonderful community of artists and it is
marvelous that the Independent Reviewers appreciate the work we do.
Thank you, thank you and thanks once more.
Very truly yours, Maureen Keiller
Mr. Stark,
I hope you can relay my thanks to the IRNE committee for the
nomination. I was honored to be mentioned and certainly appreciate
the support I have felt from the committee for my efforts on the
Boston stage. Truly, Sean McGuirk
Dear Larry, Beverly and Boston's Irne Group
I teach on Monday nights and had to miss the awards. I was so sorry
about that as I think it's wonderful how the event has grown and
garnered the respect of the community. (I'm always so impressed that
you all actually SEE ALL THE PLAYS around.) Thank you all again for
the reviews of "More Than What." The good reviews everywhere actually
did get us a larger audience for the last few shows. Sorry,
Beverly, I didn't really get to talk with you much after the show the
night you were there. (I don't have Bev's email) but again, your
words and support are always appreciated.
Perhaps, Larry, you can forward this to the others - Jules/Beverly, etc., as I don't know how to contact them on this thing.
Thanks again for coming and paying attention and sorry I've had to miss the awards. Best to you all, Donna Sorbello
Hello Larry! I’m sorry I didn’t get a chance to go back to your table last night to say hello. Metro Stage, Turtle Lane, and Hovey sat together and we had a great time, as per usual. Did you have fun? It was great to see a piece of the docu-film!
See you soon,
Michelle
Hi Larry- Thank you so much for a wonderful evening last night at the IRNE awards. Everyone at North Shore Music Theatre had a terrific time and we were extremely honored to be recognized by the IRNE committee for our 2006 productions. I also really enjoyed the teaser of your film- I can’t wait to see the completed piece!
Thank you again and I look forward to seeing you on opening night of “Crazy For You” on April 26th. Take care- Julie Arvedon, North Shore Music Theatre
Larry,
What a thrill for us to read today that THE TWO AND ONLY received the Best Visitng Production (small venue) Award!!
We are so very honored... we had no idea we were even nominated!
How does that work? When were the nominations announced? Was A.R.T. notified?
Just wanted to know.... If we had been aware, Jay would have tried to arrange to be there for the awards.
Thanks again to IRNE for this great honor.
Best,
Paul Kreppel,
Jay Johnson: THE TWO AND ONLY
visit: www.thetwoandonly.com and www.thebigvoice.com
Hi Larry,
I saw this when I picked up the Dig last night and I see it's online too...
http://www.weeklydig.com/news_opinions/articles/no_more_free_lunch_for_the_fringe
David put things pretty eloquently, I thought.
Julie
Dear Mr. Stark,
Thank you for opening the discussion about the MIT situation. I have been
thinking about this for a long time. It's upsetting to see my friends lose a
safe, accessible space to work.
(If I may be presumptuous and include myself:) in my humble opinion, we, the local independent theater community, must NOT protect the individuals who are responsible for the original, inappropriate confrontation with MIT students/police.
Whomever is responsible should come forward on their own and publicly apologize to MIT. It's the classy thing to do. It's the right thing to do. It's the high road.
Every time I ask a friend or colleague "what *exactly* happened, I get
A) stonewalled about whom is responsible
B) an offensive schpeil about how the big, bad MIT police barged into rooms
and forced theater groups to leave the MIT premises.
Friends, blaming the MIT police for doing their jobs is NOT GOING TO HELP. It is one of the most misguided smear tactics I have ever seen in person.
Let's assume that the original confrontation was probably a simple mistake
made by some overtired individuals. Without a proper apology and and a
united effort to come to an agreement,
A) the MIT situation will never be resolved
B) similar organizations with space will likely follow suit in formally
closing their doors to squatters.
With love and respect to all,
Kristin Mac
Date: Wed, 21 Feb 2007 13:12:49 -0500
From: "Jenna Scherer" jscherer@weeklydig.com
Subject: MIT Theatre crackdown
Hi Larry,
I’m from the Weekly Dig, and we’re looking into doing an investigative piece on the debacle at MIT 50 Vassar Street. I know you posted an email from the anonymous theatre company who had a run-in with the police on your website, and I was wondering if you would be able to put me in contact with this person. Any help would be greatly appreciated.
Thanks,
Jenna Scherer
jscherer@weeklydig.com
AND I SENT THIS IN REPLY:
To: "Jenna Scherer" jscherer@weeklydig.com
Subject: Re: MIT Theatre crackdown
Frankly, Jenna, I have no confidence in the DIG's ability (or your own) to say ANYTHING significant or accurate about theater in Boston.
I'll send this privately to someone from the company in question --- more as a warning than as an invitation for them to contact you.
If they do, it will be THEIR decision, not mine.
Sorry.
===Larry Stark
Dear Larry,
I read that anonymous letter about MIT ... Thanks to the attitude problem or anger management issues of one group's member whoever s/he is (may that person learn the virtues of humility and respect for places they're not authorized to be), the crackdown creates an environment where small theatre companies have to operate under conditions of larger theatre companies, but generally without any large grants and donations that could support it. As for me and Way Theatre Artists, it leaves us with the option of finding one or two places and carving out a budget to pay the rent for roughly 60 hours of rehearsals at said places .... ouch .... not to mention working around the spaces' existing schedules of events as well as the schedules of roughly a dozen folks involved in Lughnasa. It also leaves me with one very attractive alternative, albeit costly ... to buy or rent a live/work loft and make my home into a rehearsal hall. Murphy bed, folding table and chairs, whatever it takes. The bright side is it will be chock full of props and set pieces. The downside is that live/work lofts cost about $300K in the Boston area and rent for close to $2000/month. So realistically I don't know how feasible that is. But it is a dream. That's what I love about theatre. A girl can dream.
Love and thanks,
Julie Levene
www.wayplays.com
Hi Larry,
I read the sudden news of the ousting of theatre companies by MIT 50 Vassar Street. This is a huge blow to the small theater community. I don't think that full realization will be felt for a few more months. And I really think this will close down a few companies that don't have the money for rehearsal space. It takes thoughtless people to ruin a good thing for
everyone else. I cannot believe it. It would have seemed that
there was enough support within the small theatre community to make sure that
everyone could enjoy the free space that MIT was providing by looking the
other way. I myself have been thrown out of spaces in MIT countless times. We just pack up apologize and find another space. The 8th floor hallway is usually quiet and I have had many productive rehearsals there.
I hope the company that threaten the MIT group is the first to close, they deserve it and I hope they are happy for they are responsible for putting many companies out in the street.
Rob
Date: Tue, 13 Feb 2007 10:11:20 -0800 (PST)
From: [ NAME WITHHELD ]
Subject: Farewell MIT
For those who were not present last night, 4 large police officers entered the rehearsal room and asked to speak with the leader of the group out in the hallway, then surrounded me in the hallway.
I explained our group, our reason for being there, and answered their questions --- basically leading them to uncover that we have no MIT affiliation that legitimizes our presence in the building.
I explained my research into the ability to use the space, how it's been a tremendous benefit to small theatre for years and years, and how we would never deny a legit MIT group use of a room, let alone threaten them - as the police said a group had. This extermination of all non-MIT affiliated groups was brought about by a theatre group that apparently threatened a legit MIT-affiliated group when they tried to claim rights to a room the non-MIT'ers were using. The MIT group reported them and MIT called the police to get rid of all squatters.
They were very nice, asked for my drivers license and wrote down all my information. Then told me to have everyone leave within 10 minutes and not return unless I have special permission from the buildings scheduling office at MIT.
The officers said they're compiling a list of all the groups using the space and reporting back to MIT Thursday at a meeting with the administration and from now on, if anyone is caught using any of the premises who is not scheduled through the MIT office (i.e. MIT-affiliated groups), a friendly warning and ousting will not be the only outcome.
Anywho.... the good news is we weren't arrested for trespassing.
I have a few feelers out for space (two are near Porter Square T stop) and we have a contigency plan in place. Given the search for space, we are not meeting tomorrow Wednesday 2/14 (Happy Valentine's Day) and we'll resume rehearsal on Monday at 7pm at a space to be determined.
Have cc'd a few artistic director friends so they know the score. At $15-$20 per hour for rehearsal space, this certainly hurts the wallet. A setback for the family of small theatre companies in Boston for sure. Anyone up for enrolling in an MIT course to be MIT-affiliated. Factor that into our budgets?
For more commentary, read Art Hennessey's Blog
Hi Larry,
I read you open letter to the governor?
Any reply? I hope your not holding your breath.
Larry, ... they don't care. Not that they don't want to, or that it would be to much trouble or anything else, simply put Democrat/Republican they don't care. Can you imagine him coming out and saying he is going to be putting money into "The ARTS"!!! He'd be roasted alive. If he does respond, I'm sure he will have his excuses...Money is an issue, needs more time....
Larry,
The only ones that will help us, is us ourselves.I would challenge every theater company that complains about not being able to find seats to answer the question "Well what have you done to fill your seats" and the better question "when is the last time you have done something to help some other theater company fill their seats".
Can you imagine if we in theater community bounded and we all tried to help each other fill our houses. I have done everything I can to see as many small theater shows in the last couple months. I have scheduled three shows to see in the next month alone. When I go, I don't go alone. I make phone call and grab as many people from my company as possible to go with me. Now what if all members of the Boston theater company did this?
I'd like to make a challenge to find 100 people total from different theater companies that would be willing to join into such a group. Every weekend we split up and try to go see some new opening show. Maybe we could add 20-30 seats to a small show.
I'll give you the first ten from my company.
Yes, there are many excuses as to why members of the theater company would not go, Money, time,...Same excuses as our Governors would be.
Lets look past the excuses and lets support ourselves!
Hi Larry,
I loved reading your letter and I hope that it gets the attention to deserves from the Governor.
It also made me think about how many theaters there are now in Boston, and how many have been lost since your count of 93 theaters. Well, we lost three this year so that is down to 90 theaters? But I would bet you that the count is even lower. Although new theater companies cropped up year after year I doubt it has kept pace or has out paced the theater companies that have or will close because of lack of audience and lack of funds. I hope that the Governor will be able to turn around the Art fund cuts that his predecessor deemed necessary in past years.
I have even started thinking about sending my writing out of state for consideration because the lack of support for local playwrights is dismal at best. And the support that the Huntington promised with the opening of the Caldorwood Pavilion is not existent --- as I had quietly predicted.
Rob
My Dear Governor Patrick:
First, congratulations on becoming Governor. I regard your election victory as a stirring opportunity for change in the way our government conducts the public's business. I voted for you --- and now I want something. Not a lot --- a pittance, really --- but something that has been close to my heart most of my life: serious attention to the state and needs of the arts, in specific the art of live theater. I learned from the New York TIMES last Sunday that the New York Transportation Authority uses 0.5 to 1% of a subway station's rehabilitation budget for works of public art.
In your next budget, can you try to devote a similar percentage of the total expenditure of State monies to the arts --- and to earmark a significant part of that pittance for the encouragement of live theatrical performances in Massachusetts?
As I said, a pittance, but money that could spell the difference between success and failure. Boston lost three highly respected and award-winning theater companies this year, and in every case money was a factor in the decision to close --- even though they were companies "subsidized" by actors and directors working more for love than for money. These "poor theatres" confronted a deadly circle: they couldn't pay their bills without more dependable, larger audiences; they couldn't attract more eyeballs without paying for outreach and advertising; they couldn't buy ads without more box-office revenue --- and around and around and around and ... they closed.
Someone should find a way to cut that vicious circle.
I have two suggestions; dog-eared and familiar though they are, YOU have not heard them, and I trust you to give them some thought.
Since expanding audience --- putting asses on empty seats, and increasing general awareness of a company's existence --- is a key to Providing the bootstraps to pull themselves up, I'd like to see you create a fund, not for grants, but for LOANS. I'd like to see these poor theatres offered a chance to Borrow money to use for two years exclusively on audience expansion, and to pay it back by the end of the term. Let them define the problem and the solution, and then send the money back to be available to other companies as their box-offices begin to feel the results. That's my first idea.
But a company working on a shoestring, whose staffs and casts all have "day-jobs" and families, cannot always spare the time to design and implement a useful outreach campaign, to set "marketing strategies" that will guarantee biggest bang for each advertsing buck; to alert the people of Massachusetts that this is a center of theatrical activity unnoticed in its scope and its vitality.
Mr. Governor, if you felt like relaxing with a show tonight, after another hard day doing the people's business, how many active theatres do you think you'd be able to choose from? Well, in Boston alone --- within T-reach from your State House office --- I found NINETY-THREE, and that number is out of date and low. And that's only in One City. Since this is already a healthy financial resource, encouraging as it does "dinner, drink, and a show" activity for most patrons, its economic impact on your state is obvious, and should be encouraged to expand.
What I propose is that you hire a knowledgable theater-marketing expert whose duty every day would be two things: 1) to call one theater company every day and ask how she (most p/r people are ladies) could advise or otherwise help their marketing/p-r/advertising efforts improve; and 2) to work toward making America (and her visitors arriving at Logan Airport) aware of the richness and variety of theatrical wealth in the Commonwealth--- by whatever means possible.
Frankly, since you are dealing every day with a multiBillion-dollar state budget, my request for a half of one percent slice of that pie set aside for the arts is ridiculously large. I'm willing to see that slice shrink. But I am not willing to see it disappear. More importantly, I am not willing to watch your government again toss us the "one-size-fits-all" funding for all "Cultural Affairs" projects. I know that organizing an ethnic-oriented parade costs little but has bigger political bang. I know that people like you (and my knee-surgeon) think that $90-dollar tickets to a visiting production in "The Theatre District" is the only "real theater" in Boston. But I know that The Theatre Cooperative, The Sugan Theatre Company, and The AYTB Theatre Company deserved as much a claim on your attention as did "Spamalot" --- but were just too poor to slug it out with those big boys from down south.
Can you afford a pittance that could spell the difference between life and death?
I hope so.
Love,
===Anon.
( a k a larry stark )
"The two of them went on and on about all reviewers being frustrated artists, and the worthlessness of opinions, and contemporary biases against superheroes...
...But all I heard was 'amateurish' and 'laughable' .
I know it sounds whiny, but if you've never gotten a bad review before, you have no idea what a unique kind of heartbreak it is.
And I'm not talking about getting constructive criticism from your seventh grade teacher ... I'm talking about a complete stranger telling other copmplete strangers that something you've been carrying inside you for months is STILLBORN.
I've lost both of my parents, so I would never say that this was the worst pain I've ever felt ...
Yeah.
I would never say that."
Unless you buy the comic, you can't see the guy's face as this interior monologue unreels.
But you've seen that face, on other actors, haven't you?
I have.
===Larry Stark
Just wanted to let you know that I'm the author of "Twas the Night Before Opening," not Don Gillis -- I imagine he did a copy and paste and sent it to you. Several of my other humor pieces have gotten lifted from my site and circulated without proper credit (particularly "You Know You Work in Community Theater If..."), so this time I thought I'd deter that by putting the following notice at the bottom of the piece, but it looks like it was ignored:
Twas the Night Before Opening, by Chris Polo. © 2006 Community Theater Green Room, www.communitytheater.org. May not be reprinted without permission. Please include this copyright notice if you share this with others.
Here's the URL of the original:
http://www.communitytheater.org/humor/nightbeforeopen.asp
I consider it a huge compliment that you thought it was good enough to share with your readers -- thank you!
Chris Polo
Community Theater Green Room
www.communitytheater.org
Community Theater Green Room Originals
Reservations are highly recommended.
Tickets can be reserved by calling (617) 887-2336 or by email to: tickets@theatrezone.org.
Information and directions at www.theatrezone.org.
On November 13, 2002, Pulitzer-prize winner Suzan-Lori Parks got an idea to write a play a day for a year. She began that very day, finishing one year later. The resulting play cycle, called 365 Days/365Plays, is a daily meditation on an artistic life. Some plays are very short, less than a page. Others last forever. The 365 National Festival is a grassroots premiere of Suzan-Lori Parks’ 365 Days/365 Plays. Participating theaters each present seven plays, representing one week of this play cycle, before then passing the cycle on to the next theater in a cultural relay race that links hundreds of artists around the US and beyond. Produced by Bonnie Metzgar and Suzan-Lori Parks, the 365 Festival will be performed from November 13, 2006 through November 12, 2007.
TheatreZone will be staging Week 7, Dec. 25-31, for the Northeast region. Six directors and a cast of over 20 local actors will present an informal staging of the 7 short plays followed by a year-end celebration at the Chelsea Theatre Works.
A collection of Greater Boston theatre companies and universities will each put their own stamp on Parks' plays this coming spring and fall when they participate in the national 365 Days/365 Plays initiative. Boston companies will tackle two more sets of consecutive weeks in the spring and the fall, resulting in mini-festivals that celebrate Parks' efforts. Companies included: Company One, The Lyric Stage Company, New Repertory Theatre, The Nora Theatre, and Zeitgeist Stage, among others. More details will be announced in January. Please contact co-Boston area Hub Partners bevinogara@newrep.org or rebecca_curtiss@lyricstage.com with questions about regional participation.
T'was the night before opening, and all through the house,
Not an actor was ready, the crew was half-soused.
The chorus was moving as if made of lead,
And the steps they had practiced had fled from their heads.
The lead lost his lines while the ingénue napped,
And the tech in the light booth would not shut his yap .
When out in the lobby arose such a clatter,
I sprang from my seat, and the cast and crew scattered.
I threw down my notes, and with temper unchecked,
Loudly cursed the grim day I agreed to direct.
To the lobby I flew in a flash, maybe faster
To deal with this latest la st-minute disaster.
I stumbled into an astonishing scene:
There parked by the bar was a stretch limousine!
Seven handsome chauffeurs posed in artful alignment,
Brows arched and lips pursed in the utmost refinement.
They turned toward the limo, the door opened wide,
And a dapper old fairy stepped down from inside.
He was dressed all in black with a gold walking stick,
And I knew in an instant it must be Old Vic!
With a flick of his wrist and a hint of a smirk,
He spoke not a word, but went straight to his work.
He sent his companions to fix up my play,
And the fairy dust flew as each one pranced away.
"On Pacing! On Timing!
On Cue! Motivation!
On Lines! And on Blocking!
On Tax-Free Donation!"
It happened at once – we had blocking and lines,
And the timing was perfect, the acting divine!
In spite of the problems the cast and crew weathered,
A miracle happened! It all came together!
Too late I remembered the source of my joy!
I ran to the lobby, but Vic and his boys
Were tucked snug in their limo, which rose like a bird
And I shouted my thanks, but my words went unheard.
The limousine soared, turned to make its last pass,
And I spotted Old Vic through the dark-tinted glass
As he nodded at me, looking stern as a rector,
He signaled thumbs-up to this grateful director.
And I heard him exclaim as they drove out of sight
"Break a leg one and all, SRO every night!"
Not so long ago, seeing a play by the Bard hereabouts meant catching a school production or the odd ART extravaganza. There've been a greater number of professional productions recently--and not just in the summer--but collegiate level shows or the equivalent are still abound. Earlier this fall, the MIT Shakespeare group did "The Tempest" --- and 11:11, which tried "Romeo & Juliet" last season will attempt Shakespeare's final play in early Dec. in Durrell Hall. Shakespeare Now!, the local school touring operation, is once again trying a larger scale, longer run production using the auditorium at MassArt. Their "Julius Caesar," which they did a couple of seasons ago at Pine Manor, plays weekday mornings at 10am, and will have one evening show on the 18th. It's an earnest effort with a stalwart cast and collegiate grade borrowed Roman costumes. They've done better. Shakespeare productions have been a staple at our venerable academic institutions for quite a while. Out at Wellesley, there's a small Elizabethan-style building around behind the powerplant which for many years has been the home of the Shakespeare Society, presenting productions in the hall on the second floor.
This year the women in the group are tackling the Bard's gory Roman play, "Titus Andronicus," which runs one more weekend. The director, Trevi Ramirez, has decided to set the show in the Olde West with a cowboys and Indians theme. This conceit aids in staging the ending, but doesn't help sort out the characters early in this rambling saga of onstage murder and/or mutilation. Vocal characterization is minimal with run-on verse from time to time and a dramatic arc hardly develops. It's not an easy script for the best of companies; the most recent Globe production in London relied on butcher shop effects more than acting. It will be interesting to see if the Actors' Shakespeare Project manages to get more out of Will's "Sweeney Todd" when they do it in Spring 2007. Incidentally, they're reported to be planning an all-male production; Wellesley's is of course all-women.
Following 11:11 at Durrell, the Society for Creative Anachronism, which one might think would also tackle "Titus..." or the like, is behind a production of "The Merrywives of Windsor", which Somerville's Theatre@First attempted earlier in the season. Shakespeare & Co. did a breezy version this summer in Elizabethan dress with modern staging. How the MIT based medieval reenactors will deal with the show's obscure period humor and dialects remains to be seen. After the holidays, Boston Theatre Works is doing "A Midsummer Night's Dream" at the BCA, perhaps with a gender-switched Titania. Steven Barkhimer is listed as Bottom. In Feb. Shakespeare & Co. will once again bring another barebones version of the Scottish play nearby, this time at Babson. Stay tuned for further developments.
For reviews by Will Stackman, go to ON THE AISLE at http://profwill.spymac.com
"... drama ought to matter to us as a source of consciousness, that great plays can be as revelatory of human existence as novels or poems, that such plays aren't discrete objects to which we 'go' but analogues of our lives...."
"I only know that I don't want to die as an act purely of nature, of this world ... I want my poor value to exist past me, somewhere else."
- Richard Gilman, theater critic and Yale drama professor
Obituary at
http://www.variety.com/article/VR1117952999.html?categoryId=25&cs=1
by anonymous
A whining (yes, whining, please know I don’t want nor relish this tone) stream of consciousness bit on boston theatre as my laundry dries and I clock a vacation day because tech week left me with little brain power left and barely any physical energy after full-on non-stop more-than-a-day-job exhaustion from pricing the impact of healthcare reform (because the altruistic side of me said to work in a job you can sleep at night contributing towards the better good) and rehearsal having us there till almost midnight. Midnight? You say and yes I say because we were behind yes and this happens when actors can’t get paid and have to answer to their source of daytime income and stay late there as needed and if that means be late for rehearsals or not be able to show then so be it in their heads (not in their hearts, we know) because that’s what it takes to survive in boston as a person, not as an actor, but the best actors are people, experiencing life, aren’t they? Or are they?
…
why boston theatre can never work primarily with boston talent and at the same time be like ny
work for free
work for a stipend that if you’re lucky covers your cell phone bill
audition at night for non-paying gigs
audition in the day for places that think actors ought to be available during the day
in reality the best boston actors are resisting the pull to go to ny or la and may be getting by in some mundane day job just counting the months (not years, heaven forbid) when they could be paid adequately enough for their contribution to boston theatre that they could afford to rely on acting as a sole source of income or at least maybe half of it
boston professional actors defined
actors with income sources that defy logic
available to audition anytime as needed
(Is this sounding like a call to unionize?
It’s not)
Production dilemma
You find a play
Genius
Must produce
Have to cast it based on who you know or have seen or who you know has seen
… And their work schedule
Is this workable?
It is what it is
I’m just saying it’s a challenge and a limitation and what’s holding it back?
Budget
Each place trying to operate and make a profit
So what if
This is a little radical
But just a place to start a thought process really
What if boston theatre decided to work together
As one giant multinational corporation
(One nation many tribes)
One subsidiary devoted to kids products
One to senior citizen
One to gay and lesbian themes
One to judeo-christian
One to 20-somethings
One to political
One to irish
One to comedy
One to british farce
One to brechtian
And would that mean the success factor would increase?
Not, of course
It’s not a network of clubs
Boston’s better off with each being true to their original calling
Yes of course
(So what’s your point, anonymous writer without the hootspah to name your name)
Maybe the point is there is no point
It is what it is
each trying to reach out and promote theatre to their respective circle of influence and
Maybe
Just maybe
A season subscription would result
Hi Larry,
Hope all is well.
Do We Have A Friend In the State House?!
With the new ICA opening, and the old one sure to be demolished, we are actually losing another theatre space here in Boston. With The Calderwood's three new spaces, plus Zero Arrow, plus the Watertown Arsenal Center, the newspapers have correctly trumpeted a gain of spaces here in Boston and surrounding environs. But with the loss of the BCA's Leland Center, and now the closing of the ICA Theatre, we could quickly even out as far as affordable spaces for younger or smaller companies goes.
We should reach out to Senate President Robert Travaglini, who represents Boston and Cambridge, because he seems to be willing to go the mat for the importance of the performing arts. After all, as stated in this article in iBerkshires.com, Travaglini is willing to make darn sure that Pittsfield, MA gets their theatre restoration from state funds. The following is from the Article in iberkshires
"Travaglini, a Boston Democrat, was effusive in his praise of both the Colonial’s aesthetic and acoustic accoutrements. Although smaller in size, the Colonial compares well to popular Boston venues such as the Wang Theatre, he said.
"'This is as beautiful as anything in Boston,' he said. 'It’s a great facility.'
"Travaglini said that the Colonial’s history and famed acoustics would draw top-flight performers to Pittsfield. He even promised to spread the word himself, citing music industry connections.
"Perhaps more importantly, Travaglini suggested that he’d carry the torch for continued funding on Beacon Hill. In fact, he shrugged off a recent veto of some state funding for the theatre by Governor Mitt Romney. 'Don’t worry about it,' he said, voicing confidence that the legislature will override the veto." End Quote.
Don't Worry About It? Let's all e-mail Mr. Travaglini and see if he can use some of that State House pull closer to his district. We could ask him to protect, or at least work on replacing, the ICA Theatre.
Maybe we could also get him to work on some type of project similar to the Lower Manhattan Cultural Council's Swing Space Project, in which artists can use temporarily vacant commercial spaces for projects or rehearsals. You can read more about that project at: http://www.lmcc.net/art/swingspace/overview/index.html
After all, as iberkshires reports, "The senate president agreed, noting that business leaders and officials in communities across the state now recognize the importance the arts as an economic engine."
If you want to contact Mr. Travaglini to thank him for his generous appreciation of the value of live performance, and to ask him for help in maintaining and developing performance space in Boston, you can find his website here: http://www.mass.gov/legis/member/ret0.htm
The iberkshires story is at the following link: http://www.iberkshires.com/story.php?story_id=20301
P.S.
I have also posted a survey of the pricing and costs of the current theatre seasons here in Boston:
http://mirroruptolife.blogspot.com/2006/07/subscription-time-following-playgoers.html
Thanks,
Art Hennessey
Hi Larry,
I was at a party this weekend and I was talking to somebody who was involved in something called the Midtown Cultural Project? Apparently, it was a group of artists working with developers and the mayors office to include artist space in new development.
Do you remember this?
I am very interested in whether or not this survived, failed, was worthwhile. Maybe some of the mirror readers remember this or were involved.
Could you post this and see if anybody has any info, and how it related to theatre?
Thanks,
Art Hennessey
Norfolk1a@hotmail.com
P.S. Big article in the Globe about the ICA closing, nary a mention about the theatre space we are losing there.
LARRY STARK REPLIES:
This sounds like something I heard about from Spiro Veloudos.
If it's the same thing, it grew out of a period when several old theatre-buildings along Tremont Street were scheduled for "redevelopment" into things like high-rise condominiums and a huge movie-palace. Arts people got together and complained that the art of theater needed spaces in which to work, and this would deprive the city's artists of several possibilities for work. They banded together, held meetings, lobbied --- and, in a sense, won!
Someone crafted a law saying that if a building containing space used for artistic purpose were demolished, the developer would be required to include in the new structure space intended to Replace the original performing-space.
But you know how laws get made, don't you? As the idea grew in public momentum, the words got altered from "Artistic" to "Cultural" purposes --- which meant that instead of Replacing old theatres with new ones, developers were licensed to allow all sorts of worthy non-performance activities to have a claim on their "cultural spaces". So the theater people who started the ball rolling suddenly became (unsuccessful) petitioners hoping the measure would Not Pass!
But it did.
So, when the ICA does move, the empty building can be given over to any tennant's business plan, so long as some sop to Cultural Use is hung on some public space in the business.
At least that's how I remember it.
Can anyone else shed more light on this? ===Larry Stark
To whom it may concern
Please remove all listings for The Blue Room, scheduled to open this Thursday, May 25, at the Boston Center for the Arts. The production has been cancelled.
Thank you.
Chris Cavalier
Artistic Director
Okay, Larry Stark here:
In answer to my request for clarification Chris Cavalier sent me a private letter outlining events concerning this production and its closing, which was not for publication.
He did ask that the letter (further down in this string) from Naeemah White-Peppers be removed from The Mirror --- which I feel I cannot do.
In point of fact that letter is the only explanation of "the other side" --- i.e. the views of Susan Gross about the very same production and its aftermath --- that has surfaced here.
What I have done instead is included two letters from cast/company members that pretty much defend the show's Director.
I think the discussion here cannot resolve the controversey, but both sides have had an opportunity to explain themselves, so that partisans hearing whispers and scuttlebut can check Here for slightly more objective facts --- at least under thesmoke and emotion.
But I also think the affair has been covered adequately, and unless some compellingly clear Facts from anyone with the authority to make them might emerge, I consider the matter closed. I have real friends on both sides, I can agree with some of what is said on both sides, and this seems the best final assessment I have heard:
"As creative people, this saddens all of us and no one wins. "
Mr. Stark,
Hello again. You may not remember me, but we have met at several events and productions produced by the 11:11 Theatre Company here in Boston. I am, unfortunately, one of the sad actors whose show (The Blue Room) was shut down three days before our scheduled opening. I am writing to you in effort to better inform you about the circumstances surrounding Ms. Gross' departure from our show. I would also request that you remove Ms. Naeemah White-Peppers comments from your site. While Ms. Naeemah White-Peppers makes a compelling story (and I'm sure she is sincere and honest in her telling of it), unfortunately the things she has been led to believe by Ms. Gross are simply not true.
I do not wish to argue the illegality of the script changes, the letter of the law is clear on that subject. I also fully understand the desire to stand up for one's friends- especially when they are standing alone. While it is important to speak up for oneself and one's beliefs, the intentions behind the actions of Ms. Gross were not the brave and noble ones portrayed on your website.
Ms. Gross was not fired because she challenged the legality of what was being done. That is simply not true. Ms. Gross was asked to leave the show because she was not comfortable with the part and what she was being asked to do. Ms. Gross expressed this to me and other members of the cast- I'm positive that every member of the cast would confirm this if you asked them. Ms. Gross acknowledged that the director did say he enjoyed her as an actress and would like to work with her in the future on a project they were both fully comfortable with. Ms. Gross promptly turned him down. She also told me and other members of the cast that her only regret is that "she was asked to leave before she could quit" and vehemently expressed "that man [the director] doesn't know who he's dealing with- he'll never work here again".
Had Ms. Gross truly been thinking only of the legality of the situation and not her hurt and embarrassed feelings- I should think she would have contacted Samuel French when the first changes were being made- not the week before the show when all her other efforts to pit actor against actor and actor against director had failed.
The sad truth is that while Ms. Gross' actions as being proclaimed as noble- she did what she did not out of honest respect for the law or the work, but out of spite and malice. Her utter lack of respect for the hard work done by the members of the cast and crew- her willingness to destroy the beautiful play they had created in a fit of revenge against a director she disliked- these are truly petty and totally self-serving actions. I have no doubt that Ms. Gross is thrilled the show has been cancelled, not because of noble suggestions in her character, but because she succeeded in causing all of us a great deal of heartbreak and a great financial loss to the company. There is nothing comendable in that.
That being said, I would again respectfully request that you remove the letter posted on your website. I commend Ms. White-Peppers on her integrity and willingness to stand up for her friends- unfortunately she has plainly been deceived in the actual events surrounding the closing of The Blue Room.
Thank you for your time,
Cassandra Meyer
Date: Tue, 23 May 2006 21:20:04 -0400
From: "Nadia Delemeny" nadia@randalltribe.com
Subject: Blue Room
Dear Ms White Peppers, I was the Assistant Director for The Blue Room. I was also the Casting Assistant.
Ms. Gross was fired because she did not have the talent for the role I help cast her in. This became very apparent during the first few days of rehearsal.
Ms Gross was told when she auditioned, that our play was an ensemble piece for 10 actors. She informed us she had never heard of the original script and was excited about the project. The fact that technically, we should not have made any changes is undeniable, but that fact was not a problem for Ms Gross until she was recast.
I understand Ms Gross is a friend of yours and I commend you for standing up for her. I feel sorry for Ms Gross, as I am sure she was very disappointed to lose the role, however, her being so vindictive is not a professional way for any actor to behave and I am sure you would not condone such wilful malice had you known the truth of the situation.
It takes love and inspiration to Create and hatred and darkness to Destroy.
As creative people, this saddens all of us and no one wins.
Regards,
Nadia de Lemeny
Date: Wed, 24 May 2006 08:14:01 -0700 (PDT)
From: "Naeemah A. White-Peppers" nwp97@yahoo.com
Subject: Re: Blue Room
To: Nadia Delemeny nadia@randalltribe.com
Cc: Larry@theatermirror.com
Nadia,
I thank you for your e-mail.
As a professional in this business, you must recognize
that re-writing of scripts is illegal. In signing his
contract with Samuel French, Chris realized this as
well.
The Blue Room is a very popular script, well known by critics. Regardless of Susan's actions, once your show opened, and the critics began to write about the re-writes, it would have been closed down anyway. Also, the BCA would have been fined, and every other company that performs in that space could potentially be slapped with restrictions by Samuel French. Theater 4 is a new company, and I imagine that it was your first time using a space like the BCA. It's a community space. Chris Cavalier's blatant disregard for his contract could have put a lot of people in jeopardy. It's not just about his artistic preferences; the greater community would have been affected.
So at the end of the day, it doesn't matter how you or anyone else feels about Susan and her motives, she did the Boston Theater Community a service. And the BCA thanked her for it. Samuel French thanked her for it. David Hare obviously agreed because he was the person who decided to close down the show.
As far as Susan's talent is concerned, she has become quite the prominent actress in Boston over the last 5 years. Chris approached her after seeing her perform to ask her to do his show. He went so far as to promise her a stipend when he was not paying any of the other actors. When he fired her, he asked her to consider working with him again in the future. Does this sound like a reaction to an untalented person. Also, the idea that you can guage the "talent" of an actress in the first couple of rehearsals while the script is changing daily is ridiculous. Susan's talent is not in question here. Chris Cavalier's integrity is.
I'm sorry that things did not work out for you. But
if they had, a community could have paid the price.
Look past your malice, and see the bigger picture.
Regards,
NWP
Hi Larry,
This is Naeemah White-Peppers. I know it's been a
long time since you've heard from me. I've run off to
Chicago to be swallowed up by mommy hood. We're
excited to be expecting our second child in September!
I hope the life of a Boston Theatre Critic continues
to be fruitful with the lively displays on our many
stages.
I'm writing to voice my thoughts on the actions of a courageous Boston actor because I think her story needs to be heard. It's rare in our business that an actor will speak up against a theater or director because we are constantly in fear of soiling our own reputation. In a business where your own personality is as important as your ability to play a character, where people can be black-listed because they vocalize disappointment with an experience - it's a big deal to speak your mind.
Susan Gross was cast in a production of the Blue Room (with Theater 4) with the understanding that she was performing David Hare's piece. In the course of a short rehearsal period, the director (Chris Cavalier) re-wrote a number of the scenes and intentions of the author. While a new actor may think this is common practice, in the professional world we understand it to be illegal. David Miller (Zeitgeist Stage Company) and I have had a few discussions over the years about cuts/edits to scripts. Those conversations always led to requests for permission from the author. Those requests are generally denied. The author has the intellectual authority to decide what story he tells, and to defend that story from being "re-told" using his name.
When Susan questioned the director’s right to change the script, she was fired. She was fired, not because of poor performance, or inability to play the character, but because she questioned his right to perform an illegal action.
To receive the rights to a play, every producer signs a contract that prohibits script changes. This means that the director was not ignorant to the fact that he was committing copyright infringement. He used his authority to manipulate young actors, and to soil the reputation of Susan Gross, whose only wrong was to try to keep him to his contract.
Susan then took the courageous step of contacting Samuel French. The obvious way to clear her name, and to show that what the director did was wrong, was to call him to task for his actions. The only people who could do that were Samuel French. Susan was also generous enough to contact other cast members to make them aware of the situation. She told them that she had been fired for resisting the changes, and encouraged them to read the original script. Her intention was not to catch them off guard, or to surprise them with a final verdict, but to allow them the opportunity to make their own decisions about whether to stick with the project.
Susan was vindicated. The show was shut down. It is unfortunate for the rest of the artists who put a lot of hard work into the project. But, I believe this is a great lesson for those who shy away from speaking up or walking away. Directors and production companies cannot act without regard for the other artists they choose to involve in their productions. A slandered actor; a perjured author; we all have support. We do not have to accept inappropriate decisions for fear of losing our livelihood. There is a place for integrity in this business.
Bravo to Susan Gross! Cheers to you for standing up for integrity.
Hi Larry,
I don't know about your being "a strange old man." At a minimum, you're a loveable strange old man. But I also think you must be an old fogey.
Notwithstanding the whining e-mail you received from ART, it is one of the most important resident theater companies in the country. I find the hostility that so many Boston theater people show towards it to be unfathomable.
I've seen every mainstage production that they've done in their history and many of the other ones, and I have been bored out of mind only twice. It's not that all the producitons have been great; it's that they've all (with the two exceptions) been interesting. Take the recent "Romeo and Juliet" (I know you want to add: "Please!"). Did it rank with best Shakespeare that my wife and I had ever seen? No, but it was good and it brought out different aspects of the play. I expected to see a disaster. Instead, I came out shaking my head about the critics and the people who had talked to me about the production. I thought I received more than my money's worth.
People seem to complain the most when ART takes on the classics, particularly Shakespeare. Admittedly, it's chancy if the first production you see of a classic is the ART production. The director is going to take a strong point of view and not let the play "speak for itself." But how many plain vanilla productions of "As You Like It" can one person take? After awhile I want either to avoid it for seven years or go to a production with a different take on it.
ART is a company with a worldwide reputation that occasionally does world-class work. Other companies in the area occasionally do excellent work and often do very good or good work -- like ART. But only ART strives to be world-class.
And, of course, we often get to see work by famous European directors before anyone else in the country. The European aesthetic is different from the American, so we may not like them as much as the people in their homelands. But these productions are always fascinating to see and to learn from.
But isn't this the problem? Most Boston theater people don't want to learn anything new. They have an idea of the theater, and that's what they want to see. Anything that goes against the way theater was done when they were twenty-five is just too radical for them. Thus, their hostility to ART.
I can understand this attitude in people who just go to the theater. They know what they like, and they want to see it. But people who are involved in the theater should have broader interests, if only to see what works and what doesn't work -- examples of which ART provides in almost every production.
I hope I don't sound too elitist. I love a good production of "Hairspray" or a good, straightforward production of "You Can't Take It with You." But I also like something a little more challenging once in awhile. "Avenue Q" is great, and "Sweeney Todd" is great. The Lyric production of "The Goat" was wonderful, and so was the ART production of "Uncle Vanya." Robert Lapage used $150 million to produce an amazing spectacle in "KA" in Las Vegas and considerably less to produce an amazing play in "The Far Side of the Moon" at ART. There should be room for it all.
Larry, you may be an old fogey, but there are plenty of middle-aged fogeys and even young fogeys in the Boston theater scene.
Keep on fogeying,
Steve Fulchino
P.S., Theater people are always worrying about how to get young people to see stage plays. Go to a mid-week ART production. The whole back of the theater is filled with college students.
...........
BTW, that was a GREAT response to A.R.T. person. I guess directors aren't the only ones over there who are egomaniacal. And I am also one of those who doesn't bother with them any more. Also got tired of seeing Shakespeare butchered.
Sandi
Date: Fri, 07 Apr 2006 08:39:27 -0400
PS- although I did like their MERCHANT OF VENICE about 6-7 years ago - I think that's the last time I saw anything worth anything there.
Sandi
Unfortunately I was unable to review Assassins because I was directing Blithe Spirit in East Greenwich, RI the first two weekends of their run. I also couldn't attend their last two shows due to prior commitments made months in advance to review Aida at Company and Midsummer Night's Dream at Bay Colony.
Tony Annicone
Larry,
I am in a very difficult position in writing this email,having been a cast member of the show I am going to refer to however, on the behalf of all the hard working individuals involved in the production of Assassins at Newton Country Players I have to say that I was very disappointed to see that none of the Independent Reviewers of New England were able to make it out to see one of the three weekends that the show ran. I also find it curious that other shows running received multiple reviews.
Now I am no conspiracy theorist, and I have zero beef with you. We have had in the past some dialog that made the web site, and I had the honor of meeting you for the first and only time after a production of A Chorus Line down in Foxboro about two years ago. I enjoy your site and all that it has to offer, and selfishly, as a performer, director, designer, I find myself eagerly anticipating any comment on any show that I may be involved in, to find its way to your page. Unfortunetly for myself, and more importantly as whole, for the cast and crew of Assassins, we didnt get to see any objective review of our passionate work.
David DaCosta
This will be the hardest and the most depressing piece I have ever written for The Theater Mirror.
On the 14 of December last, shortly before Christmas, I sent the same e-mail letter to 32 theater companies that, over the last year, had been reviewed in the pages of The Theater Mirror. (I will attach the letter to the end of this explanation.) In it I asked for money, because I'd been told that a company --- one with a long and glowing track-record --- was in grave danger of closing unless they could raise the price of next year's season.
I didn't expect to raise the $6,000 that was needed.
I did, though, expect that I could raise some of it because --- well, because I thought every one of those 32 companies would empathize with someone struggling with a problem every one of us has stared in the face, often every year.
I suggested that companies consider sending the take from their Worst House of the year --- and I didn't expect that anyone would do that, of course. (If the A.R.T. or The Huntington had done that, we'd have financed THREE seasons for that struggling company!)
People Did respond, a few very generously, and for a week or so I had high hopes --- not so much of Saving one of my favorite theatres from disaster, as of proving to a crass and unfeeling world that Theater People, at least, could take care of their own.
And then letters stopped coming.
I archived all the letters. (Click Here)
In particular, I was glad to see one or two expressing regret that they themselves were staring ruin in the face and couldn't possibly put their meagre money where their mouths were. I really felt for those, and felt warm, sincere gratitude for the individuals who could only kick in a few bucks.
But I got a total of only ten responses of any kind.
What hurt me most was the stunning, stony Silence from everyone else.
It hurt a lot.
I don't believe in miracles, but I did believe that the people who do theater here were friends --- at the very least friends Of Mine --- who could understand why the prospect of losing Any theater company would be particularly painful to me.
I naively thought The Theater Mirror stood for something.
I will this month add a little money of my own and get a check to the stricken company's Artistic Director.
And I'm sorry to have wasted everyone's precious time.
Love, ===Anon. ( a k a larry stark )
Beware. I am going to ask you for money.
As the Solstice approaches and the sun dips daily ever closer to extinction its f